Allee Willis Blog

19Aug 2010

Allee Willis Kitsch O’ The Day – It’s very hot in LA today…

19Aug 2010

Allee Willis Kitsch O’ The Day – It’s very hot in LA today…

It’s sweltering in LA today. I have a house full of people as I’m racing to finish the Pomplamoose video, two of my computers have broken down so 2 techs are here, the pool filter’s being fixed, some bees are being removed, my assistant at helping me pack to get ready to go up north to finish two more songs with Pomplamoose, my animator’s here and someone’s giving me an estimate on new mini blinds. Thank God no one came dressed like these guys…

This is by far one of the twerpiest LP covers ever. I don’t get the choice of how the letters were spaced across the chests. And why would a Polka group call themselves the Drifters? Especially as there’s already a classic group named The Drifters? Why are there two ‘D’s in Drifters? The only thing I see drifting is the waistline on those hideously wonderful Liza Minnelli-ish pantsuits of theirs.

02Aug 2010

Allee Willis’ Kitsch O’ The Day – 1968 Right On’s 100 Super-Soul Stars Book and Saturday Night with Earth Wind & Fire and Stevie Wonder, 2010

02Aug 2010

Allee Willis’ Kitsch O’ The Day – 1968 Right On’s 100 Super-Soul Stars Book and Saturday Night with Earth Wind & Fire and Stevie Wonder, 2010

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My life would have never been the same without Soul music. Growing up in Detroit, my teenage years were spent on the far right of the AM radio dial, down where the black stations were. I had no idea I would eventually become a hit songwriter especially because I never learned (to this day) how to play an instrument. Call it a limitation but I’m someone who believes in finding power in limitations. I learned everything I know from the Soul Stars in this book. Published in 1968 by Right On! magazine, a division of Tiger Beat, Right On! was THE commercial rag of blended Pop Soul, music that rippled with unbridled joy of freedom and self-expression, exuding confidence and spontaneity that sprung from a Black Is Beautiful social consciousness. Listening to THAT music was all music training I needed.

Here’s Right On’s 100 Super-Soul Stars as of 1968:

I know the names are small but squint to read them because they changed music forever and most of the records they made sound as contemporary today as the day they were mixed.

I loved every record the Supremes made though I loved the earliest ones the most.

The original version of “I Heard It through the Grapevine” by Gladys Knight and the Pimps slayed me. In 1973, “Midnight Train to Georgia” became and remains my single favorite background vocals record ever recorded.

Marvin Gaye’s songs recorded by the time Right On’s 100 Super-Soul Stars came out, especially “Wonderful One”, “Ain’t That Peculiar” and “I’ll be Doggone”, were my favorites. When he released his version of “I Heard It through the Grapevine” I think it became one of the greatest records ever made.

Merry Clayton was the believable female voice on The Rolling Stones ‘Gimme Shelter’. I got a promo copy of her solo LP in the early 70s when I was working at Columbia Records and played it constantly until I used it as a hat brim for an outfit that really screamed for an albeit impromtu hat.

The highest form of Godliness in Soul, Aretha’s ‘Soul ’69’ is still one of my favorite LPs ever.

I was very depressed when I graduated college having to leave all my friends at the University of Wisconsin. The only thing that kept me somewhat calm and optimistic on the long drive back to Detroit was hearing “Oh Happy Day” over and over again on the radio.

For as great as 1968 was in producing Super-Soul Stars it was still too early to include the group that honestly and for real changed my life, Earth Wind & Fire. In 1978 they gave me my first hit single, “September”, and in ’79 my first hit album, “I Am”, on which I co-wrote every song but two. Here’s they are in 1975:

Larry Dunn, keyboardist extraordinare, had the most awesome Afro of anyone in the group.

Though they too had spectacular Afros I hadn’t even heard of The Emotions when Right On’s 100 Super-Soul Stars came out in ’68. But years later they joined Earth Wind & Fire to sing my second hit, “Boogie Wonderland”.

Last Saturday night I went to The Waterfront Concert Theater in Marina Del Rey to see Elements of Fire, an EWF tribute led by Larry and Sheldon Reynolds, who joined the group as guitarist in the late 80’s and filled in for co-founder/lead singer and my favorite singer of all time, Maurice White, when he left the group. I bumped into Larry as I was walking in.

Once inside I met up with one of my favorite friends and funniest persons alive, Luenell, who was introducing the band.

If one just judges the music and love affair between performers onstage and the audience, the evening was spectacular. I spent two exquisite hours enjoying some of my favorite music on earth, several songs of which were mine. I was surrounded by friends from back in the day. But that’s where the party ended. Once the evening was in the hands of The Waterfront “Concert Theater” it was a 3, no, 23 ring, circus of errors.

As a purveyor of kitsch and aforesaid strong believer in rolling with limitations if you can’t do anything to change them, these are the moments I must take a breath and remember I’m blessed. Rather than chasing down the manager to strangle him/her I just squint and look at the evening as a massive wheel of brie spilling off a way-too-small buffet table and know I will remember it as a stand out in the annals (or anals depending on how hard you’re squinting) of Kitsch.

The screw-ups started a full week before I even got to The Waterfront “Concert Theater” when I tried to buy tickets over the phone and talked to a chain of robots, none of whom could help me other than tell me that dinner was served during the show. I would’ve bought tickets online but after five minutes of searching the site for a link to the box office there was no link to tickets for the band I wanted to see. I finally bypassed the club and got tickets through the tour manager. But even with them printed out in hand you still had to stand in line to pick up the real tickets which were the identical printed sheets of paper. Which would have been slightly more tolerable if the air conditioning had been working.

Soaked like a mop, I went to the bathroom to freshen up. I know this place is called The Waterfront because it sits on the harbor. I just wish they would’ve confined the standing bodies of water to outside. Nothing short of a few sticks of dynamite could’ve unplugged this:

I moved on to sink number two but unless I had brought my bathing suit and spent the night sitting on the bathroom counter dipping my toes to try and cool down from the malfunctioning air conditioning I still was left with no place to wash my hands.

I included the following photo because it’s important for you to see the primo condition vintage 1950’s rayon shirt I have on. Covered with starbursts, it’s one of the best Atomic Age shirts I own. I only wear it on special occasions when I know I want to feel good.

Little did I know as I swept past the Waterfront’s beautifully finished bathroom walls…

… and well-attended to wastebasket…

… what would happen the second I got to my seat in the “VIP” section, three bridge tables plopped in the middle of the one and only narrow aisle that led to the stage and at least 20 other people who would need a waitress or a bathroom throughout the night. Though we were in slightly better shape than hundreds of other sardines smashed together in a room with only one exit. I finnnnnaly stepped over enough bodies to crumble into my seat and a waitress dumps a bottle of beer and a full whiskey sour on my beautiful, special, rare and beloved Atomic shirt. Ice cubes dribbled down my back coating both sides of the garment with sticky goo and deposited yet another body of standing water in my chair, the kind that has ass indentations carved into the wood so any liquid just sits there. Despite not being enough to soak up the mess on me, my chair, the floor, the people next to me and my once beautiful but now permanently spotted leather bag the waitress returned with six towels, a blessing as she only brought one thin paper napkin when she finally delivered our meal, the one and ONLY item on the “full dinner” menu the robots had told me was available, a Styrofoam plate with a tiny pile of bagged salad, an unidentifiable mound of squishy stuff that was probably going for Jumbalaya and “Chicken Strips”, 4 tiny frozen Costco chicken legs. As Luenell said when she got on stage, “Don’t be tellin’ a black woman you got chicken strips and then bring her no chicken legs dripping with sauce so now her lipstick’s smeared all over her face and she got to get up on stage. That’s dangerous.”

After about a half an hour I adjusted to the fact that I was stuck in a beer and whiskey soaked outfit in a club with little to no air conditioning and no sink to clean any of it or me off. The music was SO good – “September”, “Boogie Wonderland”, “Reasons”, “Serpentine Fire”, “Can’t Hide Love”, “I Can’t Let Go”, “In The Stone”, “Getaway” “Fantasy”, “That’s the Way of the World” and on and on. I even got used to having my chair shoved in my back every time anyone needed to get by. Of the hundreds of times it happened that night thankfully one time it was by this guy in the blue shirt:

He had many hits by the time he made it into Right On’s 100 Super-Soul Stars in 1968.

Ultimately, I think covering a sweat soaked body with an outfit made of beer and whiskey made Stevie’s medley of “Shining Star” and “Superstition” even better for me. Despite the constant efforts of The Waterfront Concert Jail I Mean Theater to do otherwise, it was the kind of night where you couldn’t help feeling like a Soul Star when you left.

(For more of me, EWF & Luenell on an evening that was far better managed, see the opening party for my social network, The Allee Willis Museum of Kitsch at AWMOK.com, last September 21st, the date that’s in the opening line of the song, “Do you remember the 21st night of September…”. Larry Dunn and founding EWF member Verdine White, greatest bass player who ever lived, played for anyone who wanted to sing kariokee of “September”. Though there are no drinks being spilled, no germ infested bathrooms, lots of food, air conditioning and folks who worked there who actually got past the first grade, it’s still fantastic viewing material for anyone who likes me, Earth, Wind & Fire, Luenell or Super-Soul Stars in general.)

Intro: http://www.youtube.com/watch?v=B12TPKuVcSY

“September”: http://www.youtube.com/watch?v=kKXU2o6NVT8

“Boogie Wonderland”: http://www.youtube.com/watch?v=Nj1tzW4kyMg

27Jul 2010

Allee Willis’ Kitsch O’ The Day – Beethoven’s Fifth Popcorn

27Jul 2010

Allee Willis’ Kitsch O’ The Day – Beethoven’s Fifth Popcorn

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Other than the fact that it’s packaged in a 750ml bottle, the standard size vessel for champagne, the stretch to connect product with name is so thin and precarious here as to induce the medical condition known as Kitschago. As a writer, it’s painful to see so many plays on words in trying to make elements as disparate as popcorn and classical music seem connected. As a kitsch lover, however, it’s ecstasy. Let’s see, how many ways can we thwack the creative brain with a lead pipe and make this popcorn/ Beethoven connection work? The label, Château de Musica, implores the popcorn ingestee to “HANDEL with care”. I don’t understand what care it takes to eat “Le grand Pops” but if one does apparently HANDEL it wrong the bottler, RACH MANINOFF, guarantees “your money BACH”.

Unfortunately, the LISZT price isn’t stamped on the bottle. And I don’t know enough about classical music to know if Albert Elovitz has anything to do with the art form but somehow the military managed to get in on the wordplay as Distilled by credit goes to KERNEL Albert Elovitz.

Thankfully, the bottom of the bottle remains pun free.

I cringe when people send me really cheesy song lyrics to critique, so pun filled at times I find it necessary to tell them that connecting together a bunch of plays on words isn’t an original concept and rarely works unless something else so unique is tossed into the mix. In this case, it’s thankfully not a crappy song I have before me but a champagne bottle, vintage 1986, filled with popcorn. It may not be musical but it’s definitely what I would stock in the bar to serve with the cheese wheel at my next party.

And while we’re on the subject of Beethoven’s Fifth…

06Jul 2010

Allee Willis’ Kitsch O’ The Day – Cheerleader Wall Plaques, Toni Basil and Dinner at Street

06Jul 2010

Allee Willis’ Kitsch O’ The Day – Cheerleader Wall Plaques, Toni Basil and Dinner at Street

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Whenever I look at these metal cheerleader wall plaques made by Sexton in the 1960’s I think of Toni Basil because you can see how happy these girls are doing their cheers. In 1982, the year that “Oh Mickey you’re so fine, you’re so fine you blow my mind, hey Mickey” was all you could hear on the radio, Toni, singer, choreographer extraordinaire and the woman responsible for making cheerleading ultra cool, and I were best of friends. She was one of my first girlfriends when I moved to LA in 1976 and I’ve always loved my collaborations with her because she’s fearless, decisive and eternally ahead of the curve.

Last night Toni and I got together for the first time in years at the restaurant I co-own, Street. Here we are with Prudence Fenton and Chef Susan Feniger.

We covered a lot of territory, not to mention food. Though we wrote our first song together in 1976 most of what we wrote went on the gold album that included “Mickey” in ’82. Here we are at a party I threw for Toni at my house to present her with a gold record when that song went number 1 in Japan.

One of our songs, “Street Beat”, written with Bruce Roberts, has run through my head at least once a week since we wrote it. This performance of it on The Smothers Brothers Comedy Hour is staggering.

For any of you who may not know it, Toni formed the legendary dance group, The Lockers, street dance pioneers, in 1970. (She also wrote the legendary “Oh Mickey, you’re so fine…” chant but never got credit). So when you see a performance as incredible as “Street Beat” bear in mind that Toni doesn’t just sing it live but did absolutely everything else from choreography to wardrobe.

That same year another one of our collaborations, “Shoppin From A-Z”, also with Bruce Roberts, came out. Just as I was, Toni was a multimedia artist at a time when that wasn’t encouraged in the music industry unless you were a major star. So I always loved collaborating with Toni because she not only encouraged my multi-medianess but pushed me into places I had never been before. Like in the “Shoppin” video where she made me dance.

But now back to 2010 and our dinner at Street.

We started out with my favorite dish at the restaurant, Albacore Sashimi with spicy sesame mayonnaise yuzu ponzu sauce, smoked salt, pink peppercorns and micro wasabi.

I don’t even like pepper but always ask for extra pink peppercorns. This dish is so good it makes me feel like doing a cheer.

Next we had Graskaas Aged Gouda Salad with red endive and watercress, Asian pear, black currant and celery leaves in a juniper walnut vinaigrette,…

… followed by Lamb Kafta Meatballs over warm Syrian cheese wrapped in grape leaf with date and carob molasses on za’atar spicy flatbread,…

…and Tatsutage Fried Chicken marinated with soy, mirin and sake, crispy fried in rice batter and topped with spicy kewpie mayonnaise sauce.

This dish also deserves a cheer.

We also ordered Stir Fried Chinese Brocolli with fresh ginger, garlic and sesame…

…and Thai Rice Noodles with Chinese broccoli, seasoned pork, tomato, mint, Thai basil and chiles.

I forgot to photograph the Massamun Beef Curry because we were too busy talking.

As sure as I love the food at Street not to mention the related-though-it-preceded-it-by-18-years “Street Beat” I’m not gonna let another few years pass before Toni and I get together again.

22Jun 2010

Allee Willis’ Kitsch O’ The Day – AMI JukeBox Tip Tray

22Jun 2010

Allee Willis’ Kitsch O’ The Day – AMI JukeBox Tip Tray

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A petite 4″ x 6″, this little metal tip tray was a promotional item given away in the 1950’s by the AMI corporation to celebrate their massive line of exclusive multi-Horn, high fidelity sound system jukeboxes. It’s been sitting in my recording studio collecting guitar picks for as long as I can remember after originally being brought in as a drink coaster after I ruined several keyboards with an avalanche of Diet Coke, Yoo-hoos and decaf.

Sunday night I was in Sonoma, CA. writing with Pomplamoose. We were shooting to finish three songs in four days. The work never stopped even when we went out to dinner as is evidenced by my little digital recorder that was on for four solid days capturing every thought and breath we had.

But when it came time to pay the check I reached out to lay the tip down and knocked over a bowl of lentils, dousing the recorder with a river of Indian goo. So every time I went to record after that I had to push down extra hard on the buttons to break through the crust that seeped into and dried in the recorder. If only the AMI JukeBox Tip Tray had been there so there was a nice designated and protected area to deposit the gratuity I would still have a recorder that didn’t smell like Bombay.

21Jun 2010

Allee Willis’ Kitsch O’ The Day – Music Muffs Radio Headphones

21Jun 2010

Allee Willis’ Kitsch O’ The Day – Music Muffs Radio Headphones

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Without question, these are by far my favorites of the 50 or 60 pairs of headphones that I own. Although of no use whatsoever in my recording studio as their sole purpose is to wear them to listen to the radio they still are the best looking set of phones I’ve ever seen. headphones-music-muffs_6724

I oftentimes wear these two-speaker-but-not-really-stereo Music Muffs when a collaborator is working on something that I either don’t view as crucial to the record or something I know it’s better to just let them run with without any kind of censoring from a collaborator. So rather than sit there and get annoyed or bored I just tune them out and listen to AM radio.

I didn’t bring my Music Muffs with me on my trip up north to work with Pomplamoose where I am right now racing to finish three SMASH songs as the voluminous amount of percussion instruments that I stuffed into my suitcase didn’t allow room for the precious radio headphones cargo.

Pomplamoose has their own headphones but there’s not enough inputs into their audio interface so only two people have the luxury of listening to what they’re harmonizing to. The other person steers blind.

Most people couldnt work this way. But this group, just like me, thrives on spontaneity and working within insane limits, all of which adds life to the music. This always happens when one must rely on their imagination to create great sounds as opposed to their pocketbook or massive array of equipment.

Though I do wish my Music Muffs had made the trip as the hard drive that I tripped over that all the video was being directly recorded to is being rushed to the hard drive doctor as we speak. In the meantime, I’m writing this post and trying to stay calmmmmmmmmmmm without the aid and distraction of beautiful mono sound.

And we just keep on singing…

20Jun 2010

Allee Willis’ Kitsch O’ The Day – Giant Great Guy Cup and Matching Music on a Great Guy Day!

20Jun 2010

Allee Willis’ Kitsch O’ The Day – Giant Great Guy Cup and Matching Music on a Great Guy Day!

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This “For A Great Guy” cup is large enough to hold enough steaming brew for Dad to sip and ponder the wonderfulness of fatherhood as exhibited on these astounding LP covers featuring families all fluffed and coiffed for their musical debuts. I thank the following families for looking and dressing so good as to commemorate Dad’s magnificent power to pop out the little ones who support their fathers no matter how misguided their appearance decisions may be.

On this LP cover Dad can feel like it’s Christmas all year round when he wears his new robins egg blue polyester jacket and whatever’s in that box. My only wish is that he had more hair so he could have the same flat-as-a-landing-strip haircut his son does.

I’m happy to see the lavender-tinged Gill family celebrating Dad by wearing matching napkins around their neck. Dad’s haircut seems to have inspired all the male Gills except Junior down on the right. I give him til he’s 12.

Wow, Dad’s growth hormones definitely worked on the vertical plane. And mom spent all her afternoons studying the Kennedy women in Life Magazine.

The entire Einert family has excellent head shapes for the follicular style that atops them. Mommy’s hair looks like Jiffy Pop and Bill and Jim’s ties look like they’re made from a tablecloth. I’m serious. Where’s the knot? And why are the Einerts so happy if, in fact, God is slipping away?

Not at all sure what happened to Daddy here other than he had the good sense to be photographed in front of a fake brick wall.

Happy Father’s Day to all the sharp dressed men with matching families out there and may you all be sipping something special out of a ginormous Great Guy cup.

17Jun 2010

Allee Willis’ Kitsch O’ The Day – Vintage Bongos & Pomplamoose

17Jun 2010

Allee Willis’ Kitsch O’ The Day – Vintage Bongos & Pomplamoose

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These 1950’s bongos with pearlized crushed ice wrap and heavy chrome hardware have been beaten on just about every song I ever wrote. If it weren’t for their bone crushing girth they would be in my suitcase right now as I’m on my way up to northern CA. to finish six songs with Pomplamoose.

Despite having sold over 50 million records I still have never learned how to play, which always makes for a very interesting experiment when I collaborate. It’s rare that I leave my own studio and the over 500 percussion instruments that are in there because the easiest thing for me to do when I hear a melody in my head or some kind of repetitive lyric is to walk over to something like these bongos and start filling in rhythm.

I was drawn to Pomplamoose when I heard them do my song “September”.

I’ve seen trillions of versions of this song and no one gets within a continent of Earth Wind & Fire. But Pomplamoose dissected that thing like a frog and reconstructed something inventive and fun so I did what I never do, I tracked them down and asked if they wanted to make records together.

We got together for four days in December and got great starts on six songs, filming for the videos as we went.

I’m completely spontaneous. I don’t really plan anything when it comes to music or art. I just go with the first thing in my head or under my fingers which are usually these bongos and songs start to build from there.

I video everything and Pomplamoose videos every final take. Between all of us we had 40 hours of footage at the end of the four days.

I’m only taking one of my three HD cameras this trip but there’s also tripods to lug, plus enough tapes to let the camera roll for three days, 3 still cameras, my MacBook, iPad, 2 mobile phones, 6 travel drives, three digital tape recorders, cords for every conceivable configuration, not to mention my clothes – I’m not the type who can wear one outfit for three days despite the fact that I’ll never be leaving the studio. My one regret is that there’s no room for the sacred bongos to come along.

07Jun 2010

Allee Willis’ Kitsch O’ The Day – Plastic Fruit & Vegetable People and The Most Talented Man You’ve Ever Seen Playing Music On Vegetables

07Jun 2010

Allee Willis’ Kitsch O’ The Day – Plastic Fruit & Vegetable People and The Most Talented Man You’ve Ever Seen Playing Music On Vegetables

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I used to actively collect figurative sculptures made out of plastic fruits and vegetables. Largely crafts projects, I loved them because most of them were so completely stupid looking but you could always tell a lot of love went into making them. I eventually stopped collecting these anthropomorphic fruit and vegetable people because in order to stand up straight most of them were made out of really light, cheap plastic food that would crack after a couple of years leaving them looking like accident victims. Much like what happens to actual vegetables that I periodically have a conscience to buy only to end up jamming them down the disposal when they start curdling and smelling up the frig because they’ve gotten too old to eat. But as with anything, I love when things have dual purposes like plastic fruit for display/plastic fruit for body parts. Like what a great shape an apple makes for a head or how natural the sprouts on the top of an onion look for hair. And until now, that’s how I prefered to experience vegetables.

But a few nights ago I ended up staying up most of the night after stumbling on this guy on YouTube who also makes excellent use of vegetables for purposes other than which they were grown. Here he is playing a cucumber trumpet:

I’ve never heard a carrot used as a pan-flute before:

This would definitely be a way to get me to pay attention to broccoli:

Cabbage is one vegetable I actually like though I prefer it as cole slaw or with corn beef at a good deli. I’ve never experienced it in concert as a flute.

Both apples and “Mary Had a Little Lamb” annoyed me as a kid. They still do.

I’m used to radishes being little round red things that I actually like but I guess if I knew they could be used as musical instruments I could wrap my mouth around this one too:

I have no idea what a butterbur is but it’s leafy and would probably taste good on top of a hamburger.

I’ve never had trouble with scallions as I love them in tuna fish salad.

I may have a Grammy and songs I’ve written may have sold over 50 million records but I can’t blow a watermelon and make it sound like a clarinet no matter how strong my musical proclivities are. I suppose there’s nothing to stop me from trying but in the meantime I’m doing fine without adding this skill to my repertoire and I’m just going to enjoy my fruits and vegetables as really cute plastic people.

26May 2010

Allee Willis’ Kitsch O’ The Day – Velveeta Camera and “Food For Thought” Party Photos!

26May 2010

Allee Willis’ Kitsch O’ The Day – Velveeta Camera and “Food For Thought” Party Photos!

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This is one of the few food related items that John Lloyd Young didn’t jewel at my place last Sunday when The Allee Willis Museum Of Kitsch & APLA hosted “Food for Thought”, the first ever exhibition of his brilliant Pop Kitsch art interpretations of iconically kitschy komfort foods. Had I remembered where I put it I may have used my Velveeta camera to take some fabulous photos that day. Lucky for us I didn’t as you can actually see the work and the beautiful Pop Kitsch guests like RuPaul who came to view it much clearer then my little Shells & Cheese Dinner baby is capable of popping out.

John Lloyd’s eye-popping work costs somewhat more than the three Kraft box tops and dollar shipping and handling one had to send in to get this Velveeta Camera when it was made in the 1980’s. The 110 Kodak film cartridge is still inside…

…just as fresh as John Lloyd’s ever-glowing can of Spam.

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Of course, my preference would be to dump the Kraft Shells & Cheese Dinner cam and go for John Lloyd’s Kraft Mac & Cheese “Dominoes”. It’s hard to a tell from this photo but he jeweled 100 boxes of it and toppled them out on a 16 foot serpentine table.

In 2006, the musical I co-wrote, The Color Purple, lost the Tony to Jersey Boys of which John Lloyd Young was the star and for which he won the Best Actor Tony.

We hadn’t seen each other since the round of award parties back then but a few months ago he e-mailed me out of the blue and asked if I was interested in writing some music with him. When he came over to talk about it he brought me a gift that he had just made, a jeweled box of Triscuits.

I went completely nuts for the box and encouraged him to keep on jeweling. What I saw over the next couple of months I considered brilliant works of Pop Kitsch art and I decided that presenting John Lloyd’s work would make an excellent exhibition as the first artist officially sanctioned by The Allee Willis Museum Of Kitsch. My Tony loss to him already made a perfect set up for Kitsch. I also thought that his Pop Kitsch sensibility would inspire mine and make for some excellent party props like this sign I painted interpreting the junk food John Lloyd chose to honor in his work.

We both were hard at work up until the last minute before the guests arrived.

And arrive thank God they did as all proceeds benefited AIDS Project Los Angeles. Those who dug deep included Stu James (Harpo in The Color Purple), Lesley Donald (Buster in The Color Purple) and Jai Rodiguez,

as well as Mito Aviles, Chadmichael Morrisette and Tiffany Daniels (Squeak in The Color Purple) posing with John Lloyd’s very first jeweled piece, “Virtue” (not edible!)…

…and a couple hundred more folks who you can see you right here.

When it came to food there was delicious Moms BBQ House soul food versions of John Lloyd’s delicious jeweled food.

Here’s Charles Phoenix modeling the chicken, peas and mac & cheese with me, Sonny Ruscha Bjornson and Mark Blackwell:

“Food for Thought” was also an unbelievably great excuse to order the world’s largest home delivered pizza…

… and to float individual servings of cotton candy in the pool for guests to snack on.

Here’s a lovely display of Spam that accompanied John Lloyd’s bejeweled Spam…

… and the artist vouching for its edibility:

I must say that despite my lifelong dedication to junk food I never tasted Spam until I spiked a cube here. Not surprising to anyone who knows me I found it very tasty. But I digress.

All in all, it was a wonderful day both as a party host and as a conceptual artist. John Lloyd’s and my work melded into one big kitschified fondue and despite the fact that rain was threatened all week the heavens held up so our eyes and stomachs were able to ingest beautiful works of art that my Velveeta camera only dreams of capturing in their full glory.

For full documentation of the bejeweled food fest go here.

To see how the Los Angeles Times enjoyed it go here.

Photos: Melissa Manning for the Look Partnership LLC